Italian fascism was consisted of a multilayer structure which conduced to connect all the music currents with the fascism. This
paper deals with the particular premises of the Italian fascism. The year 1938 marks a caesura in the Italian music development. The first musica impegnata of Italy, which decisively contributed to renovating the musical concepts in the post-war period, was composed by Luigi Dallapiccola on the occasion of the anti-Semitism legislations in Italy. The twelve-tone technique more and more received a meaning in the Italian composing practise and established as voice against the fascism in the course of time. In this paper the diffusion process of the twelve-tone technique in Italy is considered not only from the aesthetical but also from the socio-political perspective.